Dept. of Theatrehttp://hdl.handle.net/2142/16318
Tue, 31 Mar 2015 18:08:22 GMT2015-03-31T18:08:22Z&Quot;for Craft Recoils in the End&quot;: The Oppositional Stagecraft of Thomas Middletonhttp://hdl.handle.net/2142/72508
&Quot;for Craft Recoils in the End&quot;: The Oppositional Stagecraft of Thomas Middleton
This study examines the wittily ironic &quot;oppositional&quot; stagecraft of Thomas Middleton in the following plays: The Changeling; A Chaste Maid in Cheapside; A Mad World, My Masters; Michaelmas Term; More Dissemblers Besides Women; The Revenger's Tragedy; The Second Maiden's Tragedy; A Trick to Catch the Old One; The Witch; and Women Beware Women. Although traditional criticism of the plays is taken into account, the approach throughout is stage-oriented; this study shows how the theatrical dimension modifies the verbal discourse of each text. Through a manipulation of aural, kinetic, and visual media, Middleton generates vibrant contrasts, contrarieties, and contradictions; develops a complex theatre event which involves an equivocal interplay of interpenetrating layers of meanings; and &quot;compromises&quot; the presumptive moral signification of dramatic metaphor and action. Setting theatrical element against itself or other elements, Middleton creates a double perspective of the staged event and, ultimately, evokes a double, ambivalent response from his audience.; Middleton uses props variously, often as &quot;visual similes&quot;--as analogues to the human form--or as &quot;visual metaphors&quot;--as carriers of oblique associations. Concretizing metaphors, he not only turns props into body counterparts but transforms human appendages and entire bodies into hand props. However they figure, the props operate in a field of opposed theatre elements and verbal images.; Middleton &quot;counterpoises&quot; theatrical spaces, sometimes dividing the stage into imaginarily contiguous areas, either only momentarily adjacent or more extensively so; other times exploiting physically, architecturally separate areas. Theatrical space can appear &quot;double,&quot; as demarcations of coincident or coterminous areas &quot;blur&quot;; when structurally divided, space can occasion &quot;scenic oscillation.&quot; Involved in a recurrent strategy of &quot;beholding&quot; are the deployment of bodies, movements, properties, and actions onstage. Asides and surveillance involve &quot;dysopic&quot; characters and a double vision, one invariably directed at women. Activating the double consciousness of his spectators, Middleton stimulates their apprehension of the disparity between the shifting planes of performance and actuality, and thereby exposes the psychosocial dichotomous view of woman and morality.; With a double awareness, extreme tonal oscillations, duplicitous performances, Middleton facetiously deconstructs his stagecraft in his denouement, many of which become self-ironical, staged practical jokes that produce theatrical disorientation. Such denouement, like the theatrical oppositions throughout, tend to sabotage the literary, purposely imposed &quot;dramaturgical&quot; endings and moral tags. (Abstract shortened by UMI.)
Fine Arts; Theater; Literature, English
Fri, 01 Jan 1993 00:00:00 GMThttp://hdl.handle.net/2142/725081993-01-01T00:00:00ZThe Great Inspirers: A Mentoring Theory of Playwright Developmenthttp://hdl.handle.net/2142/72507
The Great Inspirers: A Mentoring Theory of Playwright Development
In this century it is common for a young playwright to seek guidance from a teacher (a developer) who can be instrumental during the formation of the writer's artistry. This pattern of development, that is the relationship between a young playwright and a director, is explored throughout the dissertation.; Developers such as George Pierce Baker, Margo Jones, George Devine, and Lloyd Richards worked with significant writers sometimes from the first blank page to the final act curtain; all built developmental programs, and all are widely recognized by scholarship as having made contributions to the field of playwriting.; This study demonstrates that often significant development can fall under a mentoring pattern. Mentoring is a unique discipline within the area of management that considers developmental relationships. The applied mentoring theory urges a consideration of the developmental relationship through the various mentoring functions; the mentor's professional standing, attraction between mentors and playwrights, atmosphere, encouragement, teaching, promotion, feedback, and protection.
Education, Language and Literature; Theater
Fri, 01 Jan 1993 00:00:00 GMThttp://hdl.handle.net/2142/725071993-01-01T00:00:00ZA Critical Examination of Readers Theatrehttp://hdl.handle.net/2142/72506
A Critical Examination of Readers Theatre
The search for the origin of Readers Theatre usually leads to Charles Laughton, Paul Gregory and Don Juan in Hell. This production and other Laughton-Gregory collaborations clearly influenced the form Readers Theatre took between 1950 and 1970, but it raises other questions. Readers Theatre has academic connections; it began as an extra-curricular activity before it was part of the Interpretation curriculum. Understanding Readers Theatre's place in its academic environment comes not from Laughton or Gregory, but from an examination of higher education itself, and in the formation of the Speech Department. Analysis of related work interpretation and Theatre reveals ideas that have an impact, directly or indirectly, on Readers Theatre. This analysis culminates in the recognition in the theatre a performer-text symbiosis, a concept which applies to Interpretation and Readers Theatre also, but has not been explored in these fields. The theories of Hegel and the practical work of Cicely Berry apply as much to Interpretation and Readers Theatre as they do to the theatre.
Speech Communication; Theater
Mon, 01 Jan 1990 00:00:00 GMThttp://hdl.handle.net/2142/725061990-01-01T00:00:00ZTwo Plays by the Islamic Dramatist, Ali Ahmad Bakathir Translated Into English With Critical Commentaryhttp://hdl.handle.net/2142/71121
Two Plays by the Islamic Dramatist, Ali Ahmad Bakathir Translated Into English With Critical Commentary
Arab dramatists are still largely unknown, particularly in the U.S.A. This dissertation is a step partially to fill that gap through the translation and critical study of two plays by Ali Ahmad Bakathir (1908-1969), one of the most original Arab playwrights. Bakathir was a prolific writer born in Indonesia, brought up in S. Yemen (his original home) and then lived and died in Egypt. Bakathir contributed influentially to modern Arabic literature in several literary genres; drama, poetry, and the novel. In addition to his great sum of poetry, he wrote more than sixty plays, six novels, many one-act plays and short stories. Bakathir's study of English literature, and of Shakespeare in particular, guided him to some of the innovations he pioneered in Arabic literature such as the use of free verse, which became a medium of later Arabic verse drama. However, Bakathir wrote the majority of his plays in prose, which stemmed from his belief that drama could be poetical without the restrictions of meter.; In fact, it was Bakathir's commitment to Islamic ideology throughout his entire life which made his unique among his contemporary Arab dramatists; his works were dedicated to representing the Islamic ideology in all aspects of life. His artistic mission was to establish firmly Islamic drama in the field of Arabic literature.; The author is not aware of any plays by Bakathir which have been translated and published in English, nor of any critical study written in the United States specializing in his dramatic works. Like most modern Arab dramatists, Bakathir is better known in French language studies.; The first play translated in this work is The Secret of Shahrazad (1952) a romance inspired by The Arabian Nights. Bakathir's dramatization is a new interpretation in the light of psychological insight. The second play is Harut and Marut (1962), a moral fantasy represents the Islamic view of man's future in the universe. It makes possible that man can reach other planets and stars, and discover their secrets there as he does on earth. These dramas are among Bakathir's best works in their treatment of great universal themes; hence, they represent two methods in his thought and dramaturgy. They also introduce aspects of Islamic and Arabic culture to the Western reader.; The two translations endeavor to convey in English their original Arabic flavor and intentions. The practice of Bakathir the dramatist reinforces his artistic intention to create moral dramas for Islamic theatre and to offer new conceptualization to contemporary Western drama and criticism.
Literature, Middle Eastern; Theater
Fri, 01 Jan 1988 00:00:00 GMThttp://hdl.handle.net/2142/711211988-01-01T00:00:00ZA Reassessment of the Aesthetics of Audience Response and Audience-Performer Interaction in the Theatrical Event: The Transpersonal Paradigmhttp://hdl.handle.net/2142/71120
A Reassessment of the Aesthetics of Audience Response and Audience-Performer Interaction in the Theatrical Event: The Transpersonal Paradigm
There is a lack of serious critical thought regarding the audience and audience-performer interaction in the theatrical performance. There also is an impasse in research into these matters today. No empirical study of audience-actor interaction during the performance has been able to demonstrate significant effects of such interaction, and, due to the demise of direct-action audience participational avant-garde productions in the 1970s, a degree of misunderstanding surrounding concepts of audience participation has surfaced. Yet, a considerable number of professional actors have described their experiences of a deeply spiritual, almost mystical interaction with their audiences which is at odds with our traditional scientific paradigm of communicational possibilities.; Because of these factors, this critical study formulated the following goals: (1) an ingathering of findings from pertinent fields of investigation having a bearing upon audience response and audience-performer interaction, and (2) the formulation of a more complete and modernized theory about audience response and audience-performer interaction which leads toward a clearer understanding of the spiritual interaction actors allude to. Fields of investigation examined are: aesthetics, literary theory, neurophysiology, sports psychology, communicology, social psychology, quantum physics, parapsychology, and transpersonal psychology.; We found that confusion abounds over the meaning of traditional concepts which were used to describe the audience's aesthetic response. Furthermore, we found that our traditional formalistic view of audience interpretation does not admit the participation of the perceiver's imagination as an essential aspect of the act of perceiving significance. Hence, this study proposes a perceiver-centered theory of interpretation, modeled upon reader-centered literary theories. Finally, we found that our mechanomorphic paradigm of science and behavioral psychology does not acknowledge the spiritual communicative bond felt by actors and audiences. Hence, this study proposes a theory of multi-leveled interaction between performer and audience, modeled upon findings from research into &quot;peak performance states&quot; and transpersonal psychology.; Chapter One introduces the research problem; Chapter Two focuses on the individual audience member's responses; Chapter Three deals with intra-audience &quot;group&quot; interaction; Chapter Four deals with audience-actor interaction; Chapter Five explores alternative ways of viewing interpersonal interaction and perception; and finally, Chapter Six presents concluding reassessments and new theoretical propositions.
Theater
Thu, 01 Jan 1987 00:00:00 GMThttp://hdl.handle.net/2142/711201987-01-01T00:00:00ZTwo Plays by Tawfiq Al-Hakim in Translation, With a Critical Introduction (Arabic)http://hdl.handle.net/2142/71119
Two Plays by Tawfiq Al-Hakim in Translation, With a Critical Introduction (Arabic)
Tawfiq Al-Hakim is a major Arabic dramatist whose career extends over a span of sixty years. Although his plays have been translated and performed in many European countries, Al-Hakim has no recognition in the English speaking theatre. Very few translations of his plays in English are available, and most tend to be rendered literally.; Two valued plays of Al-Hakim have never been translated completely in English: Ahl Al-kahf (The People of the Cave (1933)), and Pygmalion (1942). Perhaps this oversight of Al-Hakim's work will be mended now to some extent.; The dissertation is divided into two parts. Part one includes three chapters about Al-Hakim's theatre and critical introductions to the plays. Part two includes translations of the two plays.; Since Al-Hakim is not known in the English-speaking theatre, the first chapter of this dissertation divides his career as a dramatist into five stages of development. This division is by no means absolute, for all the stages overlap.; Chapter two discusses the featured the &quot;theatre of the mind&quot; (i.e. closet drama), and examines Al-Hakim's claims for this group of his plays. In addition, it includes a critical introduction to Ahl Al-Kahf. This chapter reviews the sources and origins which inspired Al-Hakim. It also discusses themes and techniques and, as well, Al-Hakim's claim that this play is meant to be a literary piece.; Chapter three contains a critical introduction to pygmalion. The critique traces the origins of the play and its relation to the Greek myths of Pygmalion and Narcissus. It shows Al-Hakim's reconstruction of two completely different myths to create a version of his own. In addition, this chapter contains new findings about the way that Al-Hakim dealt with two different characters.; My ultimate aim here, is to make it possible for the English speaking theatre to know two neglected plays of Al-Hakim. It is appalling that so prolific and original a dramatist is virtually unknown in most of the western theatre. Especially is this true when his work is known and respected throughout Arabic culture.
Literature, Middle Eastern; Theater
Thu, 01 Jan 1987 00:00:00 GMThttp://hdl.handle.net/2142/711191987-01-01T00:00:00ZA Study of Efik Folk Drama: Two Plays by E. A. Edyang (Nigeria)http://hdl.handle.net/2142/71117
A Study of Efik Folk Drama: Two Plays by E. A. Edyang (Nigeria)
Drama and theatre studies in Nigeria have given inadequate attention to dramatic scripts from among the minority groups of that country. Both critics and historians are either unaware of or simply disregard these plays. However, it is in these groups that we find a highly authentic body of works in a folk drama mode.; One such minority is the Efik of the Cross River State. Most Efik literature exists mainly in unpublished forms but its plays have been performed through the auspices of a community guild, The Esop Mkparawa.; The first chapter of this dissertation gives a general background for the study and introduces the critical approach which will be followed. The second chapter features a comparative study of two major cultural groups in Nigeria (the Ibos and the Yorubas) as opposed to the Efik culture, in order to emphasize the differences that exist in spite of certain generic traits among them. This social background is followed by two Efik plays by Ernest Edyang, translated and annotated by the writer. Chapter IV features a folkloric analysis of both plays, based on the methods of African folklore specialists such as Dan Ben-Amos, William Bascom, Kenneth Clarke, and Donald Simmons. In the concluding chapter, this work examines the plays from the perspective of Western literary creativity, noting Edyang's inventiveness in incorporating Western style techniques with cultural material. The study as a whole offers opportunity for more research into the relationship between folklore and drama. It is striking that such a dramatic work should develop among this group of people. These plays are unusual, but there is not a great deal recorded about these materials. It is hoped that future research will change that situation.
Theater
Tue, 01 Jan 1985 00:00:00 GMThttp://hdl.handle.net/2142/711171985-01-01T00:00:00ZThree Plays by Rabindranath Tagore: Translated, and With an Introduction (Drama, Bengali, India)http://hdl.handle.net/2142/71118
Three Plays by Rabindranath Tagore: Translated, and With an Introduction (Drama, Bengali, India)
The first part of this dissertation provides a general introduction to the plays of Rabindranath Tagore (1861-1941), the Indian author who became the first non-European to win the Nobel Prize for Literature, in 1913. The preliminary section delineates the main reasons behind the neglect and misunderstanding that have characterized criticism of Tagore's dramatic output, both in India and in other countries. In an attempt to offer a more objective and sympathetic approach to Tagore's plays, the next two sections trace respectively the development of Tagore's dramatic craft (preceded by a brief historical account of earlier Bengali drama), and the evolution of his work in the theatre, covering not only his own directorial and histrionic efforts, but also productions of his plays on the Bengali professional stage and major revivals in Bengali group theatres of the modern period. The typical themes and issues that concerned Tagore form the subject of the fourth section, with special reference to the three plays translated in this volume. An analysis follows of the progressively negative critical reaction in England and America to Tagore's plays, drawing on book reviews, theatre reviews, articles and book-length publications from 1913 onwards. The next section explores the problems and deficiencies apparent in previous English translations, especially those by Tagore himself; his translation titled Red Oleanders is selected for detailed examination as a representative of his flawed methods. The final section of the introduction describes the methodology of translation employed by the present author.; Part Two of this work presents three of Tagore's plays in new English translations: &quot;Red Oleander&quot; (Rakta-karav(')i), &quot;Tapati&quot; (Tapat(')i), and &quot;Formless Jewel&quot; (Arup Ratan). Each play is prefaced by a note on sources and stage history, and the text contains substantive notes that explain difficult words or cultural concepts, also providing performance alternatives for non-Indian productions. The appendices to this dissertation include anote on Tagore's use of music; the songs of all three plays, transcribed into Western notation for the first time; and lists of Tagore's plays, of their premieres, and of published photographs of productions. The bibliography attempts to compile all books and articles in English relevant to a study of Tagore's drama.
Literature, Asian; Theater
Wed, 01 Jan 1986 00:00:00 GMThttp://hdl.handle.net/2142/711181986-01-01T00:00:00ZA DECADE OF &Quot;hamlet&quot;: 1965-75 (Shakespeare)http://hdl.handle.net/2142/71116
A DECADE OF &Quot;hamlet&quot;: 1965-75 (Shakespeare)
The stage history of William Shakespeare's Hamlet spans nearly four centuries. This dissertation focuses on one recent decade, 1965-75, by examining major professional productions of the play and major adaptations of the script which appeared during this time. The study aims first to synthesize and update data concerning performances, productions, and alterations of Hamlet and, second, to analyze this body of information for determining the extent to which it parallels or deviates from the formative trends of the decade.; Hamlet in particular merits investigation because of its universal appeal, its capacity to accommodate a divergence of acting styles, and its potential both as a constant and as a barometer in the examination of theatre practices of a given time. The heritage of Hamlet production establishes a foundation from which to compare and contrast the acting styles of each age as represented by those who have approached the title part.; The long stage life of Hamlet--some scholars conjecture that it is produced more often than any other play--provides an excellent constant through which to view the evolution of staging innovations as well as the brevity of fads. Ergo, by tracing the features, common and unique, of the professional productions of Hamlet in a given period of time, e.g., a decade, the trained observer should be able to define with some specificity the major trends in theatre practices for that period.; This study contains four chapters with two appendices. Chaper 1, to set the scene, gives an account of the major Hamlet productions of 1963-64. Chapter 2 describes some characteristics of fifteen major professional productions of Hamlet attributed to nine selected professional actors who appeared in the role between 1965 and 1975. Chapter 3 covers seven script adaptations published between 1965 and 1975. Conclusions are drawn in the final chapter. Appendix A lists, in chronological order, production information for many professional and selected educational theatre productions of Hamlet from the decade. Appendix B catalogues, in bibliographic form, selected published sources which contain photographs from over four dozen of the decade's productions of Hamlet.
Theater; Literature, English
Sun, 01 Jan 1984 00:00:00 GMThttp://hdl.handle.net/2142/711161984-01-01T00:00:00ZActing and Directing With the Aid of Music and Sound (Israel, United States)http://hdl.handle.net/2142/71115
Acting and Directing With the Aid of Music and Sound (Israel, United States)
This is a new technique in the instruction of acting and directing. The technique was founded by Ari Kedem in Israel in 1962. It continued to evolve in Israel until 1972. At that time, Mr. Kedem moved to the United States where he continued to investigate and develop his technique.; Special classes were initiated at the University of Miami and at the University of Illinois for the specific purpose of investigating this technique and comparing its effectiveness to the effectiveness of other techniques. Professional theatre people observing the results of the technique unanimously agreed upon its effectiveness.; Every student of the technique must approach its study with maturity, open-mindedness and sensitivity in order to achieve results.; The technique is based upon six steps: awareness, reception, digestion, honesty, concentration and control. Music is used as the key factor in achieving those six steps.; The Red Line is an imaginary line conceived to help clarify the dichotomy between the personality of the actor and the personality of the role he is going to play.; Self control is the most important element in mastering the technique. This includes the actor's control of himself per se, as well as his control of himself while acting his role. The goal of the technique is the attainment of such a degree of control that the actor is able to lose himself in the personality of the character he is playing, and then is able to return completely to his own personality when the performance is over.
Theater
Sun, 01 Jan 1984 00:00:00 GMThttp://hdl.handle.net/2142/711151984-01-01T00:00:00Z